Curators’ and artists’ responsibilities and identities have evolved in the art world, as has the fascinating space where these two worlds overlap. Curators grew in importance in the art world during the 1960s and 1970s. This is when conceptualist ideas became prominent, resulting in a new and daring manner of curating known as “curatorial expression.” Curators such as Harald Szeemann and Lucy Lippard pioneered curating projects that paralleled the work of some conceptual artists of the time. Traditional considerations such as how something appears or the materials utilized were less significant to these curators. In other words, the avant-garde movement of artists was mirrored by a comparable avant-garde trend in curating. (French, p.11) This essay looks into the interesting interplay between creative sensibilities in curatorial practices, the concept of the “artist-curator,” and the ongoing debate around curators’ artistic identities.
During the conceptual art era, the responsibilities of artists and curators became rather intertwined. Paul O’Neill, curator, and researcher, investigated this as well, wondering if modern curators may be considered artists in their own right. He referenced Hans-Dieter Huber, a theorist who argued that curating had evolved into something like a trademark, a distinct style, or a certain vision. Previously, these characteristics were what distinguished an artist’s work. They now apply to curators’ roles as well. Expanding on this concept, curator Jens Hoffmann stated that the work of an author-curator is similar to an individual practice since it demonstrates a strong creative sense as well as a clear artistic evolution over time. (French, p. 12)
The phrase “curator as artist” may be perplexing since it suggests that a curator is actively making conventional artworks, which is not the case. Instead, it refers to a curator who approaches their profession creatively, although not producing art in the traditional sense. The opposite of an artist temporarily taking on the position of curator is not a curator who is regarded as an artist. However, Curators were not always accepted as artists by many. In 2005, artist, curator, critic, and educator Robert Storr published some papers on curators as artists. He was vehemently opposed to the notion that curators could potentially be called artists. Barthes, in particular, rejected the notion that the author’s aim was important and instead established a theory in which the meaning of a book is determined by the readers. Building on this, Storr suggested that curators, unlike artists, do not have aesthetic experiences; rather, they assist in the creation of these experiences for those who attend exhibits. He contrasted the role of a curator to that of a competent literary editor, who is excellent at seeing potential and promoting it but primarily serves as the work’s first reader, guiding and valuing it. (French, p. 12)
It is, however, difficult to take a stand for such theories now that curators have taken the world by storm. A curator who works in a more creative or artistic style but still basically serves as a curator, responsible for organizing and presenting art in exhibits, is required to establish a position that lies somewhere between these two extremes. It investigates the notion that the term “artistic” in this case refers to a creative propensity rather than a specific career. Hans Ulrich Obrist, curator and co-director of the Serpentine Galleries (London, UK), is one notable individual who has become an “artist” himself. He is one of the most well-known and accomplished curators today, and he exemplifies how thin the boundary between curator and artist truly is. His fame parallels that of any other contemporary great artist. (Murgida, 2018).
How can someone who does not create art become renowned by presenting someone else’s art? It’s due to his skill in curating and recognising how various artworks relate to one another. But there’s more to it than that. Obrist’s reputation stems from his key contacts with artists. In 1991, he held his first show in his own home, inviting artists he knew from his undergraduate days. By chance, a Cartier Foundation representative called Jean de Loisy visited the show and was so pleased that he invited Obrist to Paris. In a nutshell, Hans Ulrich Obrist is recognised for his extremely inventive and one-of-a-kind aesthetics. (Murgida, 2018).
What’s fascinating about him is that he blurs the boundary between being an artist and a curator. Obrist performed something unique for “Chambre 763,” one of his exhibitions. He invited more than 70 artists to adorn his hotel room with their artwork. This concept was inspired by Félix Fénéon, an artist who used to travel with a picture by Georges Seurat to make his hotel rooms feel like home. So, for a few weeks, Obrist’s hotel room served as both an exhibition venue and his personal residence. It was almost as if he was performing as an artist himself, because his concept and idea were equally as essential as the artworks displayed, if not more. This level of imagination and creativity drew a lot of attention and had a huge influence on the audience. (Murgida, 2018).
Some independent curators (those not affiliated with a certain institution) operate in a similar manner. They utilize exhibitions to demonstrate their creativity and distinct approaches to art curation. Certain curatorial practices have been impacted and molded by this approach. Curators who are artists and autonomous curators learn from one another and begin replicating one another’s positions. They both utilize exhibits to express themselves creatively and to do things differently than typical curatorial practices. With this shift in responsibilities and utilizing exhibits as a vehicle for creative expression, we might see the curator as an artist rather than merely someone who organizes art displays. They also produce self-reflective exhibits, which consider and demonstrate the curatorial process as well as the exhibition’s form.
The idea of the “artist-curator” adds another layer to this complicated landscape, emphasizing curators’ particular interaction with the art industry. These “artist-curators” are distinct from normal curators who work in the art world. They have a special link with the community. According to the Tate Museum, an artist-curator is generally tied to an array of artists, mainly those with whom they trained or who are from the same generation. They do this because they may be dissatisfied by the difficulty of breaking into the traditional art setting (Murgida, 2018). In essence, the growth of curatorial practices and the rise of the “artist-curator” reflect the art world’s ever-expanding potential. As the art world grows richer and more diversified, challenging preconceived conceptions and sparking new forms of artistic curation and interaction become increasingly important.
References:
De Salvo, D. (2015, April 30). Curator as artist as curator. Curating the Contemporary. https://curatingthecontemporary.org/2015/04/30/curator-as-artist-as-curator/
Murgida, N. (n.d.). The art of curating: When artists and curators switch roles. Medium. Retrieved Month Day, Year, from https://medium.com/@nadinemurgida/the-art-of-curating-when-artists-and-curators-switch-roles-b459e5fe7260
Are artists the better curators? (2020). BMW Art Guide. https://bmw-art-guide.com/categories/insiders/are-artists-the-better-curators
French, J. (2020). Inclusive curating in contemporary art: A practical guide. ResearchGate. https://www.researchgate.net/profile/Jade-French/publication/340236743_Inclusive_Curating_in_Contemporary_Art_A_Practical_Guide/links/5f185b6345851515ef3e5f1b/Inclusive-Curating-in-Contemporary-Art-A-Practical-Guide.pdf
Art Theoretica 